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1
Xiao, Jian. "The biographical approach in (post-) subcultural studies: Exploring punk in China." European Journal of Cultural Studies 20, no. 6 (November 20, 2017): 707–23. http://dx.doi.org/10.1177/1367549417732999.
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While the biographical approach is widely employed in applied and theoretical social research, it is less fully developed in the specific field of (post-) subcultural studies. The article demonstrates the utility of the biographical method for (post) subcultural studies by presenting research on the punk phenomenon in an authoritarian social context within China. The discussion draws upon a qualitative study based on interviews with 34 Chinese punk musicians. Although the article focuses on one of these musicians in particular, the arguments are informed by broader research findings. Specifically, emphasis is placed on examining how the punk musician experiences the gradual process of deepening commitment to the punk scene and, through this, the multiple levels of power relations in his life. It is argued that the biographical approach can highlight the subjectivity of individual participants in their everyday practices and the wider social context in which they are actors. This article forms part of ‘On the Move’, a special issue marking the twentieth anniversary of the European Journal of Cultural Studies.
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Gratzke, Michael. "The Meanie Club – Gendered violence and post-punk narratives of love in Miss Farkku-Suomi by Kauko Röyhkä and Dorfpunks by Rocko Schamoni." Forum for Modern Language Studies 56, no. 2 (September 13, 2019): 135–54. http://dx.doi.org/10.1093/fmls/cqz031.
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Abstract This article examines love, relationships, intimacy and gendered violence in fictionalized punk biographies by authors and post-punk recording artists Kauko Röyhkä and Rocko Schamoni. Punk rock’s DIY aesthetic emphasizes self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualizes these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.
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Xiao, Jian, and Shuwen Qu. "Performance as Intervention." Journal of Popular Music Studies 31, no. 2 (June 2019): 107–26. http://dx.doi.org/10.1525/jpms.2019.312010.
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This article presents a study on the punk phenomenon in China, with a focus on how the punk musicians create new spaces within music production and performances. More importantly, it will examine how these spaces and acts of performance engage with political structures in contemporary China. By analyzing the impact that the political and economic changes of recent decades have had on the nature of Chinese society and culture, the article will first set out to understand the social context in which the punk phenomenon emerged and developed in China. Drawing on interviews with Chinese punk musicians, a discussion of the politics of place will show how a Chinese punk band has challenged a dominated space by performing in the Tiananmen Square. Informed by Attali’s theoretical discussion on “noise”, the next focus will be on an exploration of the process of power negotiation in performing punk music and seeking punk authenticity through non-conforming practices at government/institution-sponsored events. Overall, it is argued that punk performance can carve out a space for alternative political aspirations through interaction with authoritative figures (e.g. in resisting the existing powers), thus challenging state power and institutional oppression in China.
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Kenny, Dianna T., and Anthony Asher. "Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?" Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 37–44. http://dx.doi.org/10.21091/mppa.2016.1007.
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Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.
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Haddon, Mimi. "Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk." Popular Music 36, no. 2 (May 2017): 283–301. http://dx.doi.org/10.1017/s0261143017000095.
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AbstractThis article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive representations of Jamaican musicians and ask: what role does subaltern performativity play in contributing to ‘imaginary’ critical conceptions of dub, particularly concerning the Jamaican melodica player Augustus Pablo? I conclude by suggesting that post-punk musicians’ incorporation of dub-reggae represents neither an unencumbered post-colonial socio-musical alliance nor a purely colonial one, but rather exceeds and therefore problematises these two positions.
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PIEKUT, BENJAMIN. "Music for Socialism, London 1977." Twentieth-Century Music 16, no. 1 (February 2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.
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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.
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Cannady, Kimberly. "Rímur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic Traditional Music." Ethnomusicology 67, no. 3 (October 1, 2023): 383–405. http://dx.doi.org/10.5406/21567417.67.3.06.
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Abstract In this article, I examine Sveinbjörn Beinteinsson's performances of Icelandic traditional vocal music, or kveða music, in Reykjavík's early 1980s punk-rock scene. Sveinbjörn was an unlikely participant in the Reykjavík scene as a rural farmer in his late fifties and the first high priest of the Ásatrú religion, yet he developed strong personal relationships with many of the younger musicians. Nearly twenty years later, Sveinbjörn's legacy and vocality inspired the postrock band Sigur Rós's collaborations with Steindór Andersen, another influential kveða musician. I argue that Sveinbjörn's performances in the 1980s offered a culturally intimate bridge between the past and present during an unsettling time of social, political, and economic transitions for many Icelanders. This material draws on archival and ethnographic research, and I offer new interventions in terminology and translation of Icelandic traditional music studies.
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Rouse, Jennah. "‘Punks are not girls’: Exploring discrimination and empowerment through the experiences of punk and alt-rock musicians in Leeds." Punk & Post Punk 8, no. 1 (March 1, 2019): 73–88. http://dx.doi.org/10.1386/punk.8.1.73_1.
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Marchant, Alexandre. "Un manifeste du mouvement punk : extrait de L’Aventure punk de Patrick Eudeline (1977)." Parlement[s], Revue d'histoire politique N° 29, no. 1 (April 5, 2019): 199–210. http://dx.doi.org/10.3917/parl2.029.0199.
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L’Aventure punk (1978) de Patrick Eudeline, musicien et critique de rock, se veut un manifeste de la génération punk en France. Dans l’extrait commenté, Eudeline revient sur les origines de ce mouvement musical et protestataire né à Londres et le définit comme l’expression de « l’ennui et du mal de vivre » de toute une jeunesse occidentale dans les années 1970. Nouvelle forme de l’éternel conflit de générations, le courant punk se distingue par son recours permanent à la transgression. À ce titre, il se doit d’échapper tant à la caricature de la couverture médiatique qu’à toute tentative d’institutionnalisation culturelle, contrairement au rock des années 1960, devenu un « objet de musée ».
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Tyfus, Dennis, and Nico Dockx. "Punk Pong." Forum+ 25, no. 3 (November 1, 2018): 21–28. http://dx.doi.org/10.5117/forum2018.3.tyfu.
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Het merendeel van het drukwerk dat kunstenaars Nico Dockx en Dennis Tyfus produceren met hun respectievelijke labels Curious en Ultra Eczema komt tot stand via samenwerkingen met andere kunstenaars, schrijvers, muzikanten, architecten en performers. Collega’s uitnodigen, met hen in interactie treden, ideeën uitwisselen en ten slotte ook samen creëren, is een even essentieel als noodzakelijk gegeven binnen hun artistieke praktijk. De persoonlijke relaties die ze hebben met andere kunstenaars vormen hierbij het belangrijkste uitgangspunt. Als uitgevers willen ze zich niet alleen inzetten voor, maar ook communiceren over zowel hun eigen als andermans praktijk, vanuit een onmiddellijk en wederzijds begrip van elkaars werk. Dit alles is gebaseerd op ideeën over vriendschap en commoning, een nieuwe, in de marge gegroeide en op de praktijk gestoelde ideologie binnen de samenleving en binnen de kunsten.Most of the printed material that artists Nico Dockx and Dennis Tyfus produce under their respective Curious and Ultra Eczema imprints comes into being as a result of collaboration with other artists, writers, musicians, architects and performers. Getting together with colleagues, interacting with them, exchanging ideas and finally creating something together, is an element of their artistic practice that is just as essential as it is necessary. The personal relationships they have with other artists is the primary jumping-off point. As publishers they not only want to promote and communicate about their own practice but about that of others as well on the basis of an immediate and mutual understanding of each other’s work. This is based on ideas about friendship and commoning, a new ideology that has grown up in the margins of society and the arts and which is rooted in practice.
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Wijaya, Indra Sukma, Muhammad Andra Setia Putra, Khaerudin Imawan, and Dedet Erawati. "Asian Women And The Hardcore Scene." Journal of Social Science (JoSS) 3, no. 7 (July 17, 2024): 1498–507. http://dx.doi.org/10.57185/joss.v3i7.324.
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This research aims to find out how media framing and the impact obtained from media framing on the representation of women in the hardcore punk scene. This research reveals how media framing affects people's perceptions and understanding of women's representation in the hardcore punk scene and the impact of media framing on women's representation. The many roles of women in the hardcore scene, with the presence of female musicians and fans who actively contribute and bring new perspectives that enrich this music scene. This study uses a qualitative method to describe how media framing represents women in the hardcore punk scene through the website and social media use your voice using Robert N. Entman's framing analysis theory. As for the results of this study, women in the hardcore punk scene are faced with various obstacles and discrimination that must be addressed immediately through concrete actions to improve representation and gender equality in the hardcore punk scene.
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Reddington, Helen. "The Forgotten Revolution of Female Punk Musicians in the 1970s." Peace Review 16, no. 4 (January 2004): 439–44. http://dx.doi.org/10.1080/1040265042000318671.
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O'Meara, Caroline. "The Raincoats: breaking down punk rock's masculinities." Popular Music 22, no. 3 (October 2003): 299–313. http://dx.doi.org/10.1017/s0261143003003209.
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The Raincoats were one of a handful of British, all-female punk bands successful enough to release records and tour internationally. Since the late 1970s, critics intrigued by the idea that music can enact gender, have heard their music as somehow embodying femininity. I explore the discursive origins of the Raincoats music as ‘feminine music’ before analysing their music to determine the specific nature of their work as female punk musicians. The Raincoats took advantage of punk's ideology of amateurism to shatter traditional (read: masculine) subjectivity in rock music. Analysing their music reveals the ways in which their music triggers listening that encourages an understanding of their music as feminine.
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Ruth, Nicolas, and Christoph Jacke. "“I Guess this is Growing Up”." Persona Studies 10, no. 1 (May 1, 2024): 99–110. http://dx.doi.org/10.21153/psj2024vol10no1art1866.
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This research article examines the transformation of pop-punk from bands to solo artists and how the genre regained popularity due to new popular personalities and the transmedia engagement in social media and with established media. Through a three-pronged approach, this study adopts phenomenological, theoretical, and empirical perspectives to understand the transition and regained popularity fully. The phenomenological angle delves into the case studies of musicians, revealing key factors behind the shift to solo artists in pop-punk. Theoretical explanations contextualize the phenomenon within broader cultural frameworks, considering industry and transmedia dynamics, audience preferences, and technological advancements. Empirical evidence, including statistical data from social media profiles, quantifies the impact of the shift. This study contributes to a comprehensive understanding of pop-punk's transformation, offering an exploration of its past, present, and future within the ever-evolving music industries and transmedia landscapes.
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Cleveston Gelain, Gabriela, Milene Migliano, and Pedro De Assis Pereira Scudeller. "Experiências de uma Riot Grrrl: Kathleen Hanna, feminismo, DIY e cultura remix." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 152–88. http://dx.doi.org/10.22456/2596-0911.104017.
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Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary.
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Valencia-García, Louie Dean. "Tintin in the Movida Madrileña." European Comic Art 11, no. 2 (September 1, 2018): 12–33. http://dx.doi.org/10.3167/eca.2018.110202.
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This article traces ways in which comic fanzines of the late 1970s and early 1980s transgressed against and conformed to accepted Spanish constructions of gender and sexuality of the day. Research is drawn from close readings of comics found in zines of the period, such as 96 Lágrimas, Ediciones moulinsart and Kaka de Luxe. Young Madrileños literally drew on images and tropes from a variety of sources, from punk musicians to Tintin in the Congo, making them their own. Through fanzines, often sold in Madrid’s Rastro, a Roma marketplace, young people became cultural producers, creating a culture that was postmodern and anti-fascist.
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Lee, Stephen. "Re-examining the concept of the ‘independent’ record company: the case of Wax Trax! records." Popular Music 14, no. 1 (January 1995): 13–31. http://dx.doi.org/10.1017/s0261143000007613.
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In the American record industry, independent record companies have long held a cultural status that far exceeds the actual economic impact they have in the market-place. Independent record companies, or ‘indies’, have become understood as innovative and creative oases for new or unconventional musicians in the midst of a capital-driven and profit-oriented record business. The development of a wide range of musical genres and styles – from rhythm and blues and soul to punk and industrial – are often attributed to the small companies that operated outside of the control of the larger ‘major’ labels.
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Davis, Vaginal, and Lewis Church. "My Womanly Story." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 80–88. http://dx.doi.org/10.1162/pajj_a_00320.
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Ms. Vaginal “Crème” Davis has come to occupy a unique position in the parallel and intertwining histories of performance and live art, punk, and queer subcultures. As lead singer of the Afro Sisters, black fag, Pedro, Muriel & Esther (PME), and ¡Cholita! The Female Menudo, she developed a fearsome reputation and cult following on the alternative music scene of the late 1970s, 1980s, and 1990s, emerging as a prime antagonist of the post-punk subgenre Queercore. Alongside this musical practice, she directs and stars in her own independent films and theatrical productions, and was a central figure in the burgeoning fanzine culture of the 1980s, producing both home-printed magazines and the influential video-zine Fertile La Toyah Jackson. Davis also ran and hosted several highly influential performance/club nights in Los Angeles throughout the 1990s and 2000s including Club Sucker, G.I.M.P., and Bricktops. Now living in Berlin, Davis continues to produce work as a performer, visual artist, sculptor, and writer, and as a musician with her most recent bands Tenderloin and Ruth Fisher. Davis produces work that blends a peculiarly Angeleno understanding of celebrity, glamor, and showbiz with the cultural politics of race, sexuality, privilege, and class, all made within a DIY ethos that stretches back to the earliest days of Californian punk. This interview was recorded in a cold Berlin on December 3, 2014, at Davis's home in Schöneberg.
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Carriere, Michael H. "Touch and Go Records and the Rise of Hardcore Punk in Late Twentieth-Century Detroit." Cultural History 4, no. 1 (April 2015): 19–41. http://dx.doi.org/10.3366/cult.2015.0082.
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This essay uses the history of Touch and Go Records – an independent record label founded in 1981 – to show how the late twentieth-century environment of Detroit became fertile ground for the rise of hardcore punk. As the landscape of the post-industrial city was transformed by such developments as deindustrialization and white flight, a cadre of white, suburban youth transformed spaces of abandonment into places of innovation and alternative urban redevelopment, particularly in the city's troubled Cass Corridor neighborhood. Such urban spaces provided the room for musical experimentation in ways that were not possible in the postwar American suburb. Such a process was undoubtedly informed by the economic and political histories of post-industrial Detroit. Yet this essay argues that the rise of hardcore punk was more than an indicator of economic and political transformation; it was also a moment of cultural rupture. Viewed from such a perspective, one sees a group of musicians, writers, and others set on creating a new, viable art form, one that sought to critique and replace an older dominant musical culture that had come to be perceived as lacking vitality and originality. This moment of cultural realignment came to play a great role in the evolution of late twentieth century American culture.
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Kafara, Rylan. "‘Who is really gonna benefit?’: The punk habitus in the downtown Edmonton field." Punk & Post Punk 9, no. 2 (June 1, 2020): 287–307. http://dx.doi.org/10.1386/punk_00029_1.
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The new home of the National Hockey League’s (NHL) Edmonton Oilers opened in 2016. This publicly financed, CAD 613.7 million arena was built in downtown Edmonton, Alberta. The arena and its broader entertainment district were designed to ‘revitalize’ Edmonton’s inner city that was already home to the majority of the city’s homeless population. The spatial transformation of Edmonton’s inner city was an example of what geographer Neil Smith referred to as ‘The New Urban Frontier’. Using Pierre Bourdieu’s theory of practice, this article explores how the local music community reacted to downtown gentrification through songs by punk bands Latcho Drom, Rebuild/Repair and Audio/Rocketry, along with rapper Cadence Weapon. This article assesses a series of reactions ranging from supportive and promotional to critical and resistive. By showing how musicians engaged in the debate over development, this article creates a template for assessing processes of gentrification, through the relationship between professional sport, media and music. It analyses the role of cultural production in the continued process of gentrification, future developments in cities and who belongs in the new urban landscape. In doing so, this article suggests the embodiment of a punk habitus by agents negotiating various fields in Edmonton and beyond.
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O’Shea, Susan. "Activate, collaborate, participate: The network revolutions of riot grrrl-affiliated music worlds." Punk & Post Punk 9, no. 2 (June 1, 2020): 309–25. http://dx.doi.org/10.1386/punk_00043_1.
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Social networks act as a metaphor for discussion about many historical and contemporary music worlds. Much of the literature on feminist music movements like riot grrrl, ladyfest and Girls Rock camps conceptualize collective action and participation in network terms. However, in doing so, the approach is almost exclusively qualitative. Individuals tie movements, collectives and organizations together and help their cultural spread across cities and countries. Yet individuals can also cause ruptures in networks that may lead to their collapse or fracturing. This article uses mixed-methods social network analysis (SNA) to unpack the structure, development and impact of a riot grrrl-associated music network across geographical space and time. By investigating the strong ties of shared band membership and playing together, the centrality of key bands and musicians across overlapping music movements associated with riot grrrl are explored at micro, meso and macro levels of network interaction. The ability to visualize music collaboration networks allows us to see patterns and connections that may not have been previously apparent. Whilst there is a small but growing body of work on punk using SNA methods, these have overwhelmingly been male dominated. This is the first formal network application on punk-inspired feminist music worlds that redresses the gender imbalance.
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Mogoș, Petrică, and Pauwke Berkers. "Navigating the Margins between Consent and Dissent: Mechanisms of Creative Control and Rock Music in Late Socialist Romania." East European Politics and Societies: and Cultures 32, no. 1 (November 7, 2017): 56–77. http://dx.doi.org/10.1177/0888325417736807.
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This study seeks to delineate the highly convoluted relationship between (rock) musicians and the state in late socialist Romania (1975–1985). By investigating extensive archival files originating from the Securitate records, Agitprop branches, and the ideological committees of the Romanian Communist Party, we examine how the Romanian regime employed its mechanisms of creative control and how it made sense of Romanian musicians’ attempt to navigate them. First, such intricate mechanisms ranged from rewards and penalties in order to ensure ideological compliance, to repression by means of surveillance, recruitment, and harassment. Second, in our exploration of the margins of consent and dissent, the relationship between musicians and the state fluctuated between one of duplicity (that proved beneficial for both entities) and (symbolic) resistance (through collective and individual forms of dissent). Successful dissent came mostly from abroad, while, domestically, musicians were much more rigidly controlled; without being able to articulate coherent forms of dissent through their music, musicians challenged the Securitate through issues of morality. Music also led to the formation of subcultures—csöves and punks—which practiced anti-proletarian rituals of dissent. Thus, this research throws considerable light on broader sociological debates, such as the role of musicians in totalitarian settings, the hidden mechanisms employed by the state, and the ongoing literature concerning the configuration of subcultural movements in the Eastern bloc.
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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (March 3, 2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.
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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.
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ATTON, CHRIS. "‘Living in the Past’?: value discourses in progressive rock fanzines." Popular Music 20, no. 1 (January 2001): 29–46. http://dx.doi.org/10.1017/s0261143001001295.
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At the height of its success in the first half of the 1970s, progressive rock was perhaps a surprisingly popular genre; surprising since its exponents strove to fuse classical models of composition and arrangement with electric instruments and extend the form of rock music from the single song to the symphonic poem, even the multimovement suite. Album and concert sales were extremely high; even albums that were greeted with less than critical approval (itself a rare occurrence) such as Jethro Tull's A Passion Play and Yes's Tales from Topographic Oceans (both 1973) sold well (the latter reached number one in the UK Top 10 album charts upon its release). Today, the dominant critical characterisation of progressive rock is of overblown, pretentious musicians in ridiculous garb surrounded by banks of keyboards playing bombastic, overlong compositions in time signatures that you couldn't dance to: a music as far removed from ‘real’ rock ‘n’ roll as could be imagined; a music that failed both as rock music but also as classical music. (All these negative characteristics are to be found, for instance, in David Thomas's (1998) coverage of Yes's latest UK tour.) This characterisation is only partly unfair. It arose in the wake of punk, which sought to sweep away what its proponents saw as the empty virtuosity of rock dinosaurs. Punk sought to reclaim rock music for `ordinary' people to be played in intimate venues - not stadia - by people who didn't need to be conservatoire trained.
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PARTY, DANIEL. "Rethinking Post-Authoritarian Chile through Its Popular Music." Twentieth-Century Music 20, no. 1 (February 2023): 90–106. http://dx.doi.org/10.1017/s1478572222000494.
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AbstractThis article is a study of Chilean popular music produced during the 1990s, the first decade following the end of the Pinochet dictatorship. The return of democracy and a period of strong economic growth contributed to a boom in the Chilean music industry. A wealth of music was recorded and the opportunities for listening to live music multiplied. The article's main objectives are to illuminate the ways in which Chilean popular music addressed democracy's inspiring promises and frustrating limits and to consider how Chileans used popular music to foster new post-authoritarian identities. First, it argues that music was used to reclaim national symbols that had been coopted by the dictatorship. Second, it considers the music of two generations of musicians who returned to the country after living in exile. Finally, it focuses on punk and hip-hop, the styles that produced the most significant examples of protest music in the post-authoritarian period.
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Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.
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Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).
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Pires, Ondina. "Ensaio sobre o campo artístico contemporâneo. Johnny Rotten VS John Lydon = KO." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 3 (2020): 120–28. http://dx.doi.org/10.21747/21843805/tav3n3p2.
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One of the figures that stood out the most in the British punk counterculture scene, from 1976 to 1978, was the charismatic vocalist of Sex Pistols, Johnny Rotten, who shouted "Anarchy in the United Kingdom" or "There is no Future". As soon as the musical project devised by the late Malcom McLaren ended in 1978, Johnny Rotten returns to his baptismal name, John Lydon, and starts the experimental musical project Public Image Ltd, better known as PIL.Meanwhile, after about forty-one years of PIL's existence, John Lydon, residing in Los Angeles, USA, in 2020, made public his opinions about former American President Donald Trump, which were a reason for scandal and shock, especially among punk aficionados, most of whom are anti-racists and of left-wing political tendencies.Through this text and the caricatures we can observe a decadent trajectory of a musician who, apparently, is located in the antipodes of 1977. However, this turning point is legitimized by the political and cultural “gaps” of Democracy, a system that is always in danger precisely for its openness to different political views and to the continuous dialogue between ideological forces, often opposed. By using an “anarchy-fascism” dialectic, the author's points of view, based on films, songs and thinkers, evolve throughout her analysis. The aim is to open doors for broader analyzes in relation to democracy that do not contemplate the “black and white” view of the majorities in relation to current politics.
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Pańkowska, Ewa. "МИХАИЛ ЕЛИЗАРОВ: МЕЖДУ ПОСТМОДЕРНИЗМОМ И «МАГИЧЕСКИМ РЕАЛИЗМОМ» (НОГТИ, БИБЛИОТЕКАРЬ, МУЛЬТИКИ)." Acta Neophilologica 1, no. XX (June 1, 2018): 199–213. http://dx.doi.org/10.31648/an.2696.
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Mikhail Elizarov (b. 1973 in Ukraine) undoubtedly belongs to the most “bizarre”, controversial and uncompromising contemporary Russian writers, the most radicalof Russian Booker winners – his novel The Librarian was awarded the 2008 Russian Booker Prize. Elizarov is also a musician, working in a style he calls “bard-punk-chanson”. His literary works “balance” on the verge of postmodernist and realistic practice, between reality and phantasmagoria. The aim of this article is to present a creative personalityof the author: to reveal distinguishing features of Elizarov’s prose, to identify central motifs and themes in Elizarov’s selected literary works. Special attention is paid to Elizarov’s interest in violence and death, as well as the theme of Soviet nostalgia. Elizarov’s two novels and the collection of short stories and stories are analyzed in the article. These are The Librarian (2007), The Cartoons (2010) and Fingernails (2001).
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Johinke, Rebecca. "BEHIND THE COVERS OF AUSTRALIAN ROLLING STONE: NEGOTIATING THE PERSONA OF A FEMALE MUSIC MAGAZINE EDITOR." Persona Studies 5, no. 1 (July 11, 2019): 75–91. http://dx.doi.org/10.21153/psj2019vol5no1art843.
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Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect performers to put on a show, but do we expect music magazine editors to adopt a gendered celebrity persona and a public self too? This article examines the persona of the music magazine editor and the construction of music celebrity with a particular focus on Australian Rolling Stone magazine. Interviews with Kathy Bail and Elissa Blake, the first two women to edit the title in magazine format, underscore the self-fashioning of cultural intermediaries and the challenges for women in leadership roles in Australian media workplaces.
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Jian, Miaoju. "The Survival Struggle and Resistant Politics of a DIY Music Career in East Asia: Case Studies of China and Taiwan." Cultural Sociology 12, no. 2 (March 5, 2018): 224–40. http://dx.doi.org/10.1177/1749975518756535.
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Indie music in East Asia has experienced tremendous growth in popularity since the mid-2000s, especially in China and Taiwan. This trend has encouraged a number of indie bands to pursue more radical and alternative ‘do-it-yourself’ (DIY) careers within their local underground music scenes. Taking two bands from Beijing and Taipei as case studies, this article argues that their DIY music careers help them both to survive through their aesthetic freedom and to confront the paradoxical government involvement in the local music market. P.K. 14, a band from China, practice a pragmatic DIY music career with an oblique resistance to political authorities. Touming Magazine, a band from Taiwan, pursue a DIY career through punk ethics to fight against an overwhelming neoliberal discourse and a promotional state policy of developing a cultural and creative industry. While DIY career practitioners have opened up alternative possibilities to preserve the autonomy of making music, such a career path is still challenged by an unsustainable market, a shortage of financing, and the continued dominance of major music companies’ own platforms. The situations these musicians face illustrate a more ambivalent type of politics, beyond mere emancipation, in their pursuit of a DIY career.
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Luber, Steve. "The Theatre of a Two-Headed Calf: Simulacral Performance and the Deconstruction of Orientalism." Theatre Survey 54, no. 1 (January 2013): 87–106. http://dx.doi.org/10.1017/s0040557412000427.
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In the Theatre of a Two-Headed Calf's production of Drum of the Waves of Horikawa, Jess Barbagallo plays the curiously named Eesogay Yougayman, bedecked in a flowing black coat, a wig fit for Ziggy Stardust, and a badgerlike streak of black makeup across her face. The live music falls somewhere between the rhythmic, repetitive structures of kabuki and the more chaotic yet just as percussive style of punk rock, allowing Yougayman (implied to be a traditionally male character) to strut and plunge with violent swagger. She stalks the stage and falls to her knees before the object of her affection, Otane, played by Heidi Shreck, who wears a blood-red kimono and combat boots. Yougayman stares lasciviously into the audience, describing how she abandoned her studies as a samurai to see Otane: “My sickness was a ruse and yet not entirely so, for I was suffering from the malady called love. And you were the cause, Otane!” An exaggerated, almost parodic struggle ensues, in which Otane is caught by Yougayman, whose tongue wags in rhapsodic anticipation of the sexual conquest she is about to force upon Otane as the music and guttural “huhs” from the musicians heighten to a rough, almost unbearable climax.
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De Fazio, Debora. "«VIRTUOSI SENZA CUJONI!» TRA ITALIANO, LATINO E TEDESCO NELLE LETTERE DI LUDWIG VAN BEETHOVEN." Italiano LinguaDue 13, no. 2 (January 26, 2022): 559–72. http://dx.doi.org/10.54103/2037-3597/17148.
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L’articolo si occupa di analizzare alcune espressioni in italiano (non solo di carattere musicale) che compaiono dell’epistolario di Ludwig van Beethoven. L’uso della nostra lingua concorre, con il latino e il tedesco, a caratterizzare la scrittura del grande musicista, fra calembours, giochi di parole, frasi fatte, citazioni, invettiva e turpiloquio.
«Virtuosi senza cujoni!» Italian, Latin and German in the letters of Ludwig van Beethoven
The paper analyzes some expressions in Italian (not only of a musical nature) that appear in Ludwig van Beethoven’s correspondence. The use of our language contributes, with Latin and German, to characterize the writing of the great musician, including calembours, puns, clichés, quotations, invective and foul language.
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Shah, Mayuri, and Chiraj Patil. "Additive Effect of Kinesiotaping on Neck Pain and Grip Strength in Violin Players: An Experimental Study." International Journal of Health Sciences and Research 14, no. 4 (April 11, 2024): 129–39. http://dx.doi.org/10.52403/ijhsr.20240419.
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Introduction: Professional violinists with complaints of the pain in the neck and shoulder region have increased muscle activity of sternocleidomastoid muscles, trapezius muscles and left deltoid muscle while playing violin. Neck pain is linked to changes in the neuromuscular control of the cervical muscles. To play violin, the flexor muscles must be in good working order to secure the instrument. Musicians' hands are weaker than nonmusicians' hands due to the protection musicians provide for their upper extremities. Materials And Methods: It was an experimental study which was conducted in Pune. Jamar hydraulic hand dynamometer, Foam Hand Grip, and Kinesio tape was used. 30 participants were selected and allocated in group A and B randomly using chit method. Group A was given kinesiotaping with conventional treatment while Group B was given conventional treatment only, for 4 weeks. Results: Statistics analysis was done using SPSS software. Paired t test was used for within group analysis and Unpaired t test was used for between group analysis. Results suggests that group A was more effective than group B in reducing neck pain. For grip strength of right side, group A was more effective than group B in increasing the grip strength. For grip strength of left side, no group was better than other in increasing the grip strength. Conclusion: The study concludes that there is a significant effect of adding Kinesiotaping along with conventional treatment in reducing neck pain and improving grip strength in violin players. Key words: Kinesiotaping, grip strength, neck pain, violin players.
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Nowak, Teresa Magda. "Sytuacja kobiet muzykantek w Polsce – studium przykładów od początku XX wieku do dziś." Adeptus, no. 4 (November 26, 2014): 65–75. http://dx.doi.org/10.11649/a.2014.013.
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The situation of women-musicians in Poland – a case study from the beginning of the XX century to the present dayThe aim of this article is to identify the changes, based on the biographies of selected women-musicians, which affected traditional musical culture from the strict adherence to roles and functions for both genders to the total collapse of these barriers. There are no observations concerning women-musicians in the XIX century or in the centuries before, neither in Polish ethnography nor in the ethomusicological literature. Women probably played musical instruments, but only at home or while tending domestic animals, however there is a lack of any source confirmation of public performances of women musicians. On account of the rare literature on the topic of gender studies in the field of Polish traditional music and the lack of the gender-thread in the remaining ethnomusicological literature, information on the topic of the current position of women-musicians was gathered first of all during interviews with them and with their families. The analysis is related to the way they speak about their own activities, performances, experiences. The author refers to opinions of only some selected interviewees, the most characteristic of particular generations. The first generation is represented by women born near the end of the XIX century, the second by women born before World War II, the third by women born directly after World War II. Women born after the 50’s and 60’s of the XX century are part of the fourth generation, because at that time the differences in the gender situation had become less apparent. Sytuacja kobiet muzykantek w Polsce – studium przykładów od początku XX wieku do dziśCelem niniejszego artykułu jest scharakteryzowanie przebiegu zmian zachodzących w tradycyjnej kulturze muzycznej, na postawie życiorysów wybranych muzykantek, począwszy od ścisłego przestrzegania ról i funkcji obydwu płci, dochodząc do całkowitego rozluźnienia tego podziału. W polskiej literaturze etnograficznej lub etnomuzykologicznej nie ma żadnych adnotacji o kobietach muzykantkach w XIX wieku lub wiekach wcześniejszych. Prawdopodobnie kobiety grały na instrumentach muzycznych tylko w domu lub przy wypasie zwierząt, jednak brak jakichkolwiek potwierdzeń źródłowych publicznych występów kobiet muzykantek. Ze względu na szczupłość literatury dotyczącej zagadnień w obszarze gender studies z zakresu polskiej muzyki tradycyjnej oraz pomijanie wątku płciowego w pozostałej literaturze etnomuzykologicznej, informacje na temat aktualnej pozycji muzykantek zbierałam przede wszystkim podczas rozmów z nimi i z ich rodzinami. Starałam się, żeby kobiety mogły swobodnie opowiadać, wyrażać własny punkt widzenia. Skupiałam się nad tym, w jaki sposób mówią o swojej działalności, występach, przeżyciach, jakie tematy omijają i co podkreślają. W niniejszym artykule odwołuję się do opinii tylko kilku wybranych informatorek, które są najbardziej charakterystyczne dla poszczególnego pokolenia, przy czym pierwsze pokolenie reprezentują kobiety urodzone pod koniec XIX wieku, drugie – kobiety urodzone przed drugą wojną światową, trzecie – kobiety urodzone zaraz po drugiej wojnie światowej. Na przełomie lat 50. i 60. XX wieku różnice w sytuacji poszczególnych pokoleń zaczęły się zacierać, kobiety urodzone w tym okresie zaliczyłam do czwartego pokolenia.
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Faith, Rhema, and Panji Suroso. "The Technique of Bebano Drums on Accompanying Jogi Dance in Wansendari Art Studio Batam City." Grenek Music Journal 10, no. 2 (September 21, 2021): 17. http://dx.doi.org/10.24114/grenek.v10i2.27615.
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The purpose of this study is: To find out how the technique of playing Gendang Bebano in accompanying the jogi dance in the wansendari art studio. The approach and type of research used by the researcher is descriptive qualitative. This research was conducted at the Wansendari Art Studio, Batam City, so the population of this study were all members of the Wansendari Art Studio. While the samples of this study were members of the studio musicians, the head of the studio, the instructor of the studio as well as the head of culture in the city of Batam. The writing uses data collection techniques in the form of: observation to produce valid data regarding the technique of playing the Gendang Bebano in accompanying the jogi dance. Interview to get the results of research on the technique of playing Gendang Bebano in accompanying the jogi dance. Documentation for additional data in the form of photos, recordings and videos. The results of this study prove that the technique of playing the Gendang Bebano in the form of the body position of the drummers is sitting cross-legged and the drums are above the players' feet The Bebano of the drum is held by both players' hands and produces the sound of tak, pung, plang, tung. On the sound without using the index finger, middle finger, third finger, and little fingers, they are hit on the edge of the drum skin. The sound of pung uses the index finger, middle finger, third finger, and little finger but is hit in the middle area of the drum with the fingers in a straight position with the palm of the hand attached to the edge of the drum. In the plaang sound, the middle finger, third finger, and little finger are beaten on the edge of the drum but the palms are attached to the circumference of the drum. For the tung sound, use 4 straight fingers and hit in the middle of the drum.
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Bennett, Lucy. "The Lost Women of Rock Music: Female Musicians of the Punk Era. By Helen Reddington. Sheffield: Equinox Press, 2012, 2nd edn. vii + 263 pp. ISBN 978-1-84553-957-3." Popular Music 33, no. 1 (January 2014): 157–58. http://dx.doi.org/10.1017/s0261143013000627.
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Тангаева, Н. И. "Christian categories of vice and virtue, as illustrated in the song-opera TODD, authored by punk group Korol i Shut: literary aspects." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(79) (August 7, 2023): 149–65. http://dx.doi.org/10.37724/rsu.2023.79.2.015.
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В статье исследуется значение христианской аксиологии в понимании сюжета, образов и конфликта театральной рок-постановки TODD группы «Король и шут». Ввиду литературоведческой направленности работы внимание сосредоточено на тексте постановки, который относится к такому литературному жанру, как рок-поэзия. Рок-поэзия, создаваемая в рамках определенной культуры, подвергается влиянию национального менталитета и традиций, которые, в случае с русской культурой, являются в своей основе христианскими. В этой связи мы считаем актуальным и целесообразным обращение к изучению взаимодействия христианской аксиологии и произведений рок-поэзии. Исследование осуществляется на материале текстов зонг-оперы TODD. Определение «зонг-опера» предполагает резкую критику общества, направленную против каких-либо недостатков в его устройстве. В контексте постановки TODD главный конфликт, по нашему мнению, обусловлен несоответствием между первоначальным замыслом Бога об идеальном мире и получившимся результатом. Настоящую причину несовершенства представленного в пьесе общества можно установить благодаря выделенной нами оппозиции порок — добродетель, понятой в христианском смысле, которая выступает стержнеобразующим компонентом произведения. В соответствии с названными христианскими категориями герои составляют две противоположности: те, кто отринул Бога и решил жить наперекор Его заветам, и та, кто искренне верит в Творца и не мыслит жизни без Него. Принадлежащие к первой группе подчиняются порокам и не задумываются о последствиях своих поступков; их действия искажают пространство пьесы, уподобляемое аду, и отдаляют от Бога. В качестве альтернативы показывается другая жизнь — добродетельная, спокойная и наполненная любовью, которая должна стоять во главе общества, но слишком слаба перед реальностью и не способна на нее повлиять. Жизнь вне любви, замененной суррогатами, а значит, и вне Бога, не позволяет миру преобразиться и достичь справедливой и счастливой жизни. Выводы, сделанные в ходе анализа образов и проблематики произведения зонг-оперы TODD сквозь призму христианской аксиологии, позволяют нам определить глубинный источник конфликта повествования, а также доказать сопричастность современных русских поэтов, писателей и музыкантов рок-культуры национальной, духовной памяти, что обосновывает необходимость изучения их творчества в контексте развития русской литературы. The article explores the significance of Christian axiology in understanding the plot, images, and conflicts in the stage production TODDmade by Korol i Shut (King and Jester). The paper focuses on the literary text of the musical performance, that is, rock lyrics. In each national culture, rock poetry is influenced by the national mentality and traditions, which, in the case of Russian culture, are fundamentally Christian. In this regard, we consider it relevant, to study the interaction between Christian axiology and works of rock poetry lyrics. The current study is applied to the texts of the song opera TODD. The subgenre of a “song opera” implies sharp criticism of society and of various social drawbacks. In the context of the production of TODD, the main conflict, in our opinion, is due to the discrepancy between God’s original plan of an ideal world, and the actual result. The real cause of imperfection of the society represented in the play can be established thanks to the opposition we identify as vice vs virtue, understood in the Christian sense, which acts as the core component of the work. In accordance with these Christian categories, the heroes represent two opposites: those who reject God and decide to live contrary to His precepts, and those who sincerely believe in the Creator and cannot imagine life without Him. Those belonging to the first group embrace vices and do not think about the consequences of their actions. Their actions turn the setting of the play into hell and move away from God. As an alternative, another life is shown — virtuous, calm, and filled with love, which should be at the head of society, but is too weak to face reality and to influence it. Life without love, replaced by its surrogates, and therefore without God, does not allow the world to improve and achieve justice or happiness. The conclusions made in the course of the analysis of the images and problems of the opera TODDthrough the prism of Christian axiology allow us to determine a deeper source of the narrative conflict, as well as to prove the complicity of modern poets, writers and musicians of Russian rock with their national and spiritual memory, which substantiates the need to study their work in the context of the development of Russian literature.
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Whealton, Virginia E. "Polski patriota w Paryżu: Wojciech (Albert) Sowiński, eseista, antologista i leksykograf." Studia Chopinowskie 6, no. 2 (December 15, 2020): 50–77. http://dx.doi.org/10.56693/sc.41.
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Jeśli w Paryżu połowy XIX wieku żył jakikolwiek muzyk żarliwie propagujący zdobycze kultury polskiej, to był nim Albert (Wojciech) Sowiński. Od przyjazdu do Francji w 1828 roku aż do śmierci w roku 1880 był on orędownikiem sprawy polskiej jako pianista, kompozytor i badacz. Był też płodnym autorem, a mimo to jego liczne prace poświęcone polskiemu repertuarowi – z wyjątkiem Les musiciens polonais et slaves, anciens et modernes: dictionnaire (1857) – z rzadka jedynie i przelotnie przyciągały uwagę współczesnych badaczy. W niniejszym eseju śledzę ewolucję paradygmatu postawy narodowej i polskiej tożsamości w najważniejszych pismach Sowińskiego poświęconych tym kwestiom oraz w zbiorach polskich melodii: Chants polonais nationaux et populaires (1830), Souvenirs de Pologne. Chants de la révolution du 29 novembre 1830 (1830), Mélodies polonaises: album lyrique (1833), Chants populaires de l’Ukraine (1842), De l’état actuel de la musique en Pologne (1842), Dictionnaire (1857) oraz Chants religieux de la Pologne op. 93 (1859). Cztery dzieła z roku 1830, aranżacje polskich melodii ludowych i pieśni powstańczych, łączyły się ściśle ze współpracą Sowińskiego z Leonardem Chodźką i jego paryskim otoczeniem. Zwłaszcza w Chants polonais kompozytor nawiązał do propagowanych przez Chodźkę i Joachima Lelewela poglądów podkreślających wyjątkową geograficzną, językową i etniczną różnorodność Rzeczypospolitej Obojga Narodów, różnorodność, która miała zaowocować wspaniałą muzyczną i polityczną przyszłością. Tymczasem w swoich pismach krytycznych z lat 40. ludowe tradycje ukraińskie Sowiński interpretował już jako przemawiające głównie do doświadczeń regionalnie ograniczonych, za podstawę dla tworzenia się nowoczesnej polskiej tożsamości muzycznej uznając Warszawę z jej muzycznymi instytucjami. W okresie pracy nad Słownikiem i Polskimi pieśniami religijnymi kompozytor przesunął punkt ciężkości swojej argumentacji z owego wyjątkowego statusu Polski na rzecz długiej tradycji wymiany intelektualnej z Europą Zachodnią, którą kraj miał w przeważającej mierze zawdzięczać działalności dworów i Kościoła katolickiego.
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Levinson, Leah B., and Chloé Labaye. "Du powerviolence et du mignon." Audimat N° 19, no. 2 (June 30, 2023): 53–86. http://dx.doi.org/10.3917/audi.019.0053.
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Dans ce texte dense, l’écrivaine et musicienne Leah Levinson (des groupes Cali Below et Agriculture) ne nous raconte pas tant l’histoire du mouvement rock hardcore labellisé « powerviolence » — que celle de l’abandon de l’attitude anarchiste du premier punk. Le « grind » et le powerviolence nous parlent du rapport de la jeunesse californienne à l’espoir et à l’idéal après la contre-révolution néolibérale de Reagan. Une fois évacuée la possibilité d’un véritable changement systémique, que reste-t-il aux enfants affligés de la nation ? Que doivent-ils faire de leurs guitares ? Ces artistes répondent par une esthétique du refus qui tourne à vide, qui ne concerne que soi-même, le skate et les beuveries — une décision consciente de n’aller nulle part, de ne rien dire, voire de se laisser tomber comme des morts. Contrairement ce que suggère le terme de « powerviolence », et presqu’à l’opposé de ce que décrit Alex « Ratcharge » dans le texte qui clôt ce numéro, Leah B. Levinson nous montre que cette même « violence » censée compenser l’impuissance politique va avec une manière d’accepter de guerre lasse sa dilution dans le spectacle, jusqu’à partager une affinité étrange avec la poésie contemporaine, son humeur cute et son sous-texte morbide.
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Gutiérrez-Marco, Juan Carlos. "Desenfado (e incluso humor) en la nomenclatura de taxones paleontológicos y zoológicos." Boletín de la Real Sociedad Española de Historia Natural, no. 114 (August 9, 2020): 177–209. http://dx.doi.org/10.29077/bol.114.e07.
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Resumen Se presenta una recopilación de más de un millar de taxones de nivel género o especie, de los que 486 corresponden a fósiles y 595 a organismos actuales, que fueron nombrados a partir de personajes reales o imaginarios, objetos, compañías comerciales, juegos de palabras, divertimentos sonoros o expresiones con doble significado. Entre las personas distinguidas por estos taxones destacan notablemente los artistas (músicos, actores, escritores, pintores) y, en menor medida, políticos, grandes científicos o divulgadores, así como diversos activistas. De entre los personajes u obras de ficción resaltan los derivados de ciertas obras literarias, películas o series de televisión, además de variadas mitologías propias de las diversas culturas. Los taxones que conllevan una terminología erótica o sexual más o menos explícita, también ocupan un lugar destacado en estas listas. Obviamente, el conjunto de estas excentricidades nomenclaturales, muchas de las cuales bordean el buen gusto y puntualmente rebasan las recomendaciones éticas de los códigos internacionales de nomenclatura, representan una ínfima minoría entre los casi dos millones de especies descritas hasta ahora. Abstra ct A compendium of more than a thousand genera and species, of which 486 correspond to fossils and 595 to current organisms is presented. These were named after real or imaginary characters, objects, commercial companies, puns, or double entendres. Among the people distinguished by these taxa are artists (musicians, actors, writers, painters) and, to a lesser extent, politicians, great scientists or popularizers, as well as various activists. Among fictional characters, those derived from certain literary works, movies or television series stand out, in addition to various mythologies typical of different cultures. Taxa that carry a more or less explicit erotic or sexual terminology also figure prominently in these lists. Obviously, all of these nomenclatural excentricities, many of which are on the verge of bad taste and occasionally exceed the ethical guidelines of international codes of nomenclature, only constitute a minority among the over two million species described to date.
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Alexeev, Alexander B. "Politainment and the influence of its strategies on the language personality of the politician." NSU Vestnik. Series: Linguistics and Intercultural Communication 18, no. 2 (2020): 91–102. http://dx.doi.org/10.25205/1818-7935-2020-18-2-91-102.
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The article dwells on the notion of the language personality of the politician-as-actor interpreted within the framework of the politainment theory: the term used in the paper does not indicate the previous profession of a politician but rather describes one of the peculiarities of the political discourse, viz. its theatricality. The paper argues that when political communication is being transformed into politainment, theatricality becomes its key component. Politainment is interpreted here as a hybrid type of political discourse including elements of mass-media and everyday spheres of communication, allowing to orient them at entertainment. Since the language of politainment performs a ludic function, it has often recourse to language game. For the communicative approach of the politician-as-actor it is typical to avoid serious consideration of political topics, to make use of communicative techniques which allow to simplify political problems. It is normal for him to recourse to vulgar language, offensive or otherwise insulting devices such as hyperboles, exaggerations, grotesque. The politician using techniques of politainement is a resourceful individual who can easily give metalinguistic comments, employ puns, euphemisms, dysphemisms, similes, hyperboles and other rhetoric means. Just like a traditional politician, the ‘actor’ is manipulative: he plays out different roles but, first and foremost, he is a star, a celebrity and a glamorous person. In this sense, the politician-as-actor has something in common with musicians and professional sportsmen. It is not unusual for the politainment to borrow their vocabulary: sports, musical instruments, names of musical groups and performers may be mentioned. Such a political actor “sets records”, “competes” with his political opponents, “knocks them out”, etc. To conclude, we may say that ‘actors’ take initiative to dominate on the contemporary political scene and to set a new trend in political communication. In this sense, politainment is not a phenomenon which is represented by orations of only several “linguistically creative” politicians; it is much wider, it influences the whole standard of political communication.
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Gutiérrez-Marco, Juan Carlos. "Casualness (and even humor) in the nomenclature of paleontological and zoological taxa." Boletín de la Real Sociedad Española de Historia Natural 114-2020 (2020): 177–209. http://dx.doi.org/10.29077/bol.114.e07.gutierrez.
Full textAbstract:
A compendium of more than a thousand genera and species, of which 486 correspond to fossils and 595 to current organisms is presented. These were named after real or imaginary characters, objects, commercial companies, puns, or double entendres. Among the people distinguished by these taxa are artists (musicians, actors, writers, painters) and, to a lesser extent, politicians, great scientists or popularizers, as well as various activists. Among fictional characters, those derived from certain literary works, movies or television series stand out, in addition to various mythologies typical of different cultures. Taxa that carry a more or less explicit erotic or sexual terminology also figure prominently in these lists. Obviously, all of these nomenclatural excentricities, many of which are on the verge of bad taste and occasionally exceed the ethical guidelines of international codes of nomenclature, only constitute a minority among the over two million species described to date. Se presenta una recopilación de más de un millar de taxones de nivel género o especie, de los que 486 corresponden a fósiles y 595 a organismos actuales, que fueron nombrados a partir de personajes reales o imaginarios, objetos, compañías comerciales, juegos de palabras, divertimentos sonoros o expresiones con doble significado. Entre las personas distinguidas por estos taxones destacan notablemente los artistas (músicos, actores, escritores, pintores) y, en menor medida, políticos, grandes científicos o divulgadores, así como diversos activistas. De entre los personajes u obras de ficción resaltan los derivados de ciertas obras literarias, películas o series de televisión, además de variadas mitologías propias de las diversas culturas. Los taxones que conllevan una terminología erótica o sexual más o menos explícita, también ocupan un lugar destacado en estas listas. Obviamente, el conjunto de estas excentricidades nomenclaturales, muchas de las cuales bordean el buen gusto y puntualmente rebasan las recomendaciones éticas de los códigos internacionales de nomenclatura, representan una ínfima minoría entre los casi dos millones de especies descritas hasta ahora.
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Fairley, Jan. "Gender in the Music Industry: Rock, Discourse and Girl Power. By Marion Leonard. Aldershot, Hampshire: Ashgate, 2007. 239 pp. ISBN 978-0-7546-3862-9 - The Lost Women of Rock Music: Female Musicians of the Punk Era. By Helen Reddington. Aldershot: Ashgate, 2007. 220 pp. ISBN 978-0-7546-5773-6 - Pimp’s Up, Ho’s Down: Hip-Hop’s Hold on Young Black Women. By T. Denean Sharpley-Whiting. New York University Press, 2007. 186 pp. ISBN-13 978-0-8147-4014-9." Popular Music 27, no. 3 (October 2008): 510–14. http://dx.doi.org/10.1017/s0261143008312252.
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Grinnell, George C. "On punk friendship and the limits of community." Punk & Post Punk, 2022. http://dx.doi.org/10.1386/punk_00161_1.
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The article examines two recent memoirs by punk musicians, From the Graveyard of the Arousal Industry by Justin Pearson and The Spitboy Rule by Michelle Cruz Gonzales, and asks how do these works rethink the value and function of community in punk and what might be involved in recognizing friendship as something that can structure punk around altogether different operations than a notion of community presently does? The article contests a popular and scholarly perception that punk is best appreciated as a distinct community of outcasts, a view that justly recognizes that punk is much more than a failed social protest. Gonzales and Pearson challenge the assumption that punk offers a community for marginalized individuals, documenting the routine discrimination they faced from punks who prioritized uniformity and idealized norms of white male heterosexuality. Their memoirs examine how punk sometimes replicates the discriminatory social norms the authors encountered outside of the subculture and thus these works explore the limits of interpreting punk as a separate community. As an alternative, Gonzales and Pearson test out expressions of punk friendship that retain some of the optimism and sociability of punk while also remembering the centrality of relations of power that condition any practice of living with others.
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Gray, David A. "Podcast confessional: Punk and post-punk archiving, history and ‘afterlife’ conversations on the C86 Show." Punk & Post-Punk, May 20, 2024. http://dx.doi.org/10.1386/punk_00233_1.
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Among the recurrent preoccupations of punk and post-punk is a critical consideration of the individual’s relationship to society. The emergence of podcasts in which hosts and musicians engage in historically contextualized conversations therefore presents an intriguing turn of events that will be of interest to punk and post-punk scholars. This article considers the possibilities of conversational podcasts via a discussion of the C86 Show, a popular UK-based podcast featuring interviews with punk, post-punk and indie musicians of the 1980s. Aided by the empathic interviewing style of its host, David Eastaugh, the show’s long-form, in-depth conversations connect musicians’ experiences and memories to historical contexts associated with the Thatcher era. Engaging two main fields of research – audio studies and punk and post-punk scholarship – I argue that the C86 Show offers listeners a rich window into punk, post-punk and indie during that time. By inviting musicians to reflect on their pasts (and their lives since the 1980s), the show sheds light also on how these musical movements and genres are remembered today. No less important, the show’s online collection of over one thousand interviews represents a significant archiving project that will be of interest to punk and post-punk scholars.
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Skov, Marie Arleth. "The queens of loud machines: Knitting and making music in West Berlin in the 1970s–1980s." DIY, Alternative Cultures & Society, February 28, 2023, 275387022311535. http://dx.doi.org/10.1177/27538702231153569.
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“Those old eco-feminists knitted. But we were using a machine! That was a big difference indeed” (2020, personal interview with the author). That statement was made by musician and knitwear designer Gudrun Gut of the punk girl band Mania D./Malaria! and it cuts out what this article is about: Women knitting and making music on their machines in the subculture of West Berlin in the late 1970s and early 1980s. New and easily accessible technology, such as the Atari console, enabled new Do-It-Yourself strategies. At the same time—within fashion and knitting in particular—there was a shift in feminist generations: Loud, technical, noisy music, and machine-made knitwear signified aggressive, modern, and self-assured women. In West Berlin specifically, punk women musicians and designers looked back in time, and sought to reconnect with the hedonistic avant-garde and the “new women,” the divas, dadaists, and women modernists of Berlin in the 1910s–1930s.
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Tuaillon Demésy, Audrey. "‘I am a Punk, I Don’t Give a Damn!’ Chez Narcisse: A Rural Place of Resistance." Cultural Sociology, March 31, 2023, 174997552311600. http://dx.doi.org/10.1177/17499755231160037.
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Chez Narcisse is a bar located on the threshold of the southern Vosges, in the east of France, that has been run by the same family for over 120 years. Its particularity lies in the fact that since the mid 1980s, it has included a concert hall in the garden behind the bar, which punk bands use to play. This place brings together a bar that is anchored in the daily life of the village and these festive events, which always take place on Sunday evenings. Chez Narcisse thus appears as a ‘double’ space that emphasizes the search for independence and culture in a rural environment. An ethnographic research carried out in this place since January 2017 highlights how the DIY ethos is as much a way of doing things as a purpose. The punk ethos of DIY is claimed by the owners, volunteers, musicians and stakeholders of Chez Narcisse in order to build its identity as an ‘alternative’ place well known in the contemporary French punk scene. By taking up James C. Scott’s work, the aim is to understand how Chez Narcisse is a social site of resistance and the role that DIY plays in it. To do this, I will first present the construction of this alternative place which articulates both a local and rural level and a global one (the concerts and the venue attract punks from all over France). A performance upstage testifies to a veiled but very present resistance, based on a family imaginary. The second part aims at highlighting the daily forms of resistance at Chez Narcisse expressed through the use of DIY. Thus, this place would be less ‘punk’ through programmed music than through the use of DIY as a value to defend and a project to share.
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Attfield, Sarah. "Punk Rock and the Value of Auto-ethnographic Writing about Music." PORTAL Journal of Multidisciplinary International Studies 8, no. 1 (August 9, 2011). http://dx.doi.org/10.5130/portal.v8i1.1741.
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Why do many of the books on punk rock and hardcore punk come with punk attitude? Why are a good number of the books written from a personal perspective? What kind of value do the diary entries of Nils Stevenson in 'Vacant: A Diary of the Punk Years 1976-79' have compared to an article on the rhetoric of class by David Simonelli in the journal 'Contemporary British History'? In some respects scholarly writing on punk rock seems like a contradiction. How can music so rooted in anti-establishment sentiment be appropriated into an institutional setting? The auto-ethnographic approach found in many of the studies of punk might be an answer to this question. The writers have used their own experiences as musicians and fans to reflect on and analyse the music and scenes which arguably provides the reader with a more immediate insight. This paper argues for an auto-ethnographic approach to the writing of punk and hardcore punk and suggests that this style of writing about music offers the reader an ‘authentic’ insight into these particular music scenes.
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Davis, John R., Jessica H. Grimmer, and Vincent J. Novara. "Digitising the Ian MacKaye digital collection of punk fanzines at the University of Maryland." Journal of Digital Media Management, December 1, 2023. http://dx.doi.org/10.69554/tzwz9696.
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The Ian MacKaye digital collection of punk fanzines at the University of Maryland (UMD) includes more than 1,000 digitised zines, originally collected by a notable punk rock musician. These ephemeral publications document details of the punk subculture that are often obscured by time or scarcity, rendering it all the more important to preserve and make accessible the information within them before they disappear. To create this digital collection, Special Collections in Performing Arts at UMD pivoted from some of its common practices for accessioning or digitising a collection, experimenting instead with different approaches. This paper describes the context for the collection, as well as the curatorial decisions and digitisation workflows that ultimately made the digitised zines accessible to researchers and fans of the punk subculture.
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Haworth, Christopher. "Post-punk, Industrial Culture Zines, and the Information Dark Age." Theory, Culture & Society, April 17, 2023, 026327642211511. http://dx.doi.org/10.1177/02632764221151133.
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Several scholars have noted parallels between the online communicative tactics of the American alt-right and those of industrial musicians in the 1970s and 1980s. This article explores these connections further by analysing the informational media that industrial musicians developed. Between the mid-1980s and 1990s, these zines, handbooks, and websites made a strenuous break with the values of democracy, egalitarianism, and grassroots authenticity that were the default ideological ‘mode’ of DIY. Where the Californian ideology would centre the summer of love and the politics of the New Left, the zines ambiguously celebrated the nihilistic, authoritarian, and occult vectors of psychedelia – tendencies that have been associated with the late 1960s fate of the counterculture rather than its earlier heyday. The article tracks these themes from Vague magazine and Rapid Eye, to the Cybernetic Culture Research Unit in the 1990s, to neoreaction and the Dark Enlightenment, asking whether communicational utopianism should be considered a blip rather than the internet’s default state.